Organon

ENRIQUE YÁÑEZ, ORGANON.

Espacio Valverde, Madrid.

'Dwelling' as a system of unequivocal differentiation: this can be 'dwelling oneself'. Dwelling oneself as visuality and representation is, beyond the experiential and experimental, even empirical due to the temporal transcendence implied by the subsequent un-dwelling after the rupture or break of disappearance, of the loss of matter, of the extinction of the body. Extinction, not silence: silence is the occlusion or negation of what has neither been nor pre-existent or past. Silence is weakening and violent.

Organon is a body of propositional painting, and first among the completitudes of a work that from raw matter complicates the possible meanings of what are the slopes inclined toward the non-standardization of creation into tangible object. The tangible is not only touch, it is also the acting procedure that provokes it, and that procedure is rooted in a desire. When in 2019 he accompanied me in a group exhibition in A Coruña (Atracción y resistencia), it was the 'organ' of his work that grounded a precedent vital experience. If the symbol of that work departed from a foundation in which 'landscape' was understood and interfered with by the intellectual, that same 'landscape' resulted in the organicity of implication with memory and, therefore, with pre-existence.

That Organon digests three rooms as passageways toward the Aristotelian aporia of "making present what is absent" ("Referencia," 2020; "Habitare," 2020; "De Anima," 2021), produces a nutrient assimilation of that which can go beyond the comprehension or knowing activity of whoever looks and sees and observes, and stops. The detention of intellectual time enlivens the differential and acting personality of whoever looks and observes being observant of their existence. Existence, beyond matter, and beyond the immediate circumstance of its recognition, is also the multiplicity of imagination and sensibility that transfer to it its cause of being, which is Being. Therefore, 'dwelling' is the 'soul' of all 'reference', and this thread of three words organizes a 'home' where perseverance dispels the inopportunity of non-recognition.

Organon is not only a register of 'dwelling oneself in time', or of 'dwelling oneself in a time'. It is not Derrida's "trace," which perhaps simplifies as footprint that which should be more than a solution for a reanimatedly primary origin, a chain of continuities (however historical-structural this may be): it is a compression upon texturized capillarities applied in pigments, without vague explanations, glimpsed, contracted and sheltered in disinterested visual supports. These inflections from the apparent may not traverse (and dare) the growths that are contained in themselves and that from it regrow and grant themselves 'from itself in me' (in each one as 'non-discernible in its authority' —and in its desire—). The trace is overcome by valuing the disjunctives of implication, of follow-through and overcoming, a nucleus-mode for being seduced by the work, by creation, by what may come to be 'artistic' as validation beyond the adjectival. The three 'punctures' of Organon pronounce the affluent atonalities of metaphors and of the complexities that settle in them. Yáñez applies a deictic functionality to his painting, a transposition of comprehension into memory and of its return to its expanded knowledge glimpsed between the articulations and modulations of painting. The aggressiveness of painting that is spelled out in a pulsed cadence of formal radicalities that do not condition its reading to a simple detention of insubstantial and non-substantive banality. Formality lacks memory, and formality is not precisely a debtor of the organic, but of self-complacency. We should discuss or discuss ourselves about the accommodation of existences without discourse (that is, of existences without recourse or without acknowledgment of existence), therefore of social incapacity to assume itself as 'a whole from my whole in a conditioning whole'. Referring oneself, mentioning oneself, dwelling oneself and animating oneself (knowing oneself and applying oneself in the existing life that is imagined and desired to exist oneself) are the crossings of the virtuous reality of the today-in-myself that is investigated to re-establish itself and, thus, distance itself relatively from its anteriority. And that is futurizing oneself, perhaps, and not becoming infatuated. The "trace" is a trail, but not a following. The "trace" is a hypothesis of steps that perhaps led to no end, to no destination, the mark of the weakness of its veridiction, not of its uncertainty. Organon is the complete opposite and is likewise the contrariety of the pusillanimous.

The trivalent fact of the three series, of the three stages in dialogic coherence, are three refractions of the non-identitary or convective images, or behaviorist by their consensus —the nominative of character and of the word and its ideographic symbolization— of valuable memory. In "Habitare," the implication of the used to recompose it in the texture of the organic, of the vital organic that vegetalizes the function of supports (the supports of painting are the supports of the familial warp, beyond the implications with custom); in "Referencia," the hypothesis of the non-formal as substantiation of the 'irremediably comparative': the orality of the conceptual image that differs from reality to confuse itself —or derive itself— with the comprehensive faculty of the 'proximate and comfortable object' (the need to find poise of recognition in those particularities that differ from our understanding and its empathy). In "De Anima," the reverberation of the mineral that is the captivity of the exception of the domestic: there is no shelter where elective affinities regenerate us. Regeneration as consciousness that time is the impossible precision of the instantaneous and of its vindication of the objectual and objective materiality of expectation. Painting is expectation. And it is a non-enclosed space of codependencies, contrarieties and dissolutions. And in dissolution is the determination of all (pictorial) time, which is the tearing: Adorno's neologism Verfransung but in affective meaning of non-impositive regime to conceive any enabling possibility —desire: click of the generative substance, of action, of its transaction—, in any of its endings, so that it may be dysfunctional and centrifugal potency of creational transitional imaginability.

As stimulus and as stress of the pictorial exercise, painting arrives subsequently, as an "acquisitive relation," a foundation of Sontag that analyzes aesthetic perception, but in Yáñez with a weighted system of cultural knowledge (especially philosophical), of the geographies of spirit —painting as trace of that spirit— and of emotion not simplified by its register or styleme. Enrique Yáñez's painting is the stain-word: the graphism of an alphabet is the stain of a proposal that will be ideated to idealize itself, if one is sensitive to the elitism of the knowable circumstance: the elitism of knowing oneself and recognizing oneself situated —not besieged—, as an I-Proper in the non-times of empowered mediocrity and of its banal, but dictated, egolatry. Stimulus and stress are the makers of that germinal and dehiscent organism (the ramifications that Merleau-Ponty established as underlying sequences of all origin and its becoming) that will procure elitism: the I-Proper in its superiority without equivalences but without egoisms. Reference is dwelt and animated, and established. And what is organ becomes fragile and transparent until it deviates multiply through those paths of the longitude of the person who creates to be recreated after the imperative of their temperament.

Alberto Carton La Coruña, March 2021.